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This year brought us many cool releases from an array of talented artists. Of note, there was a lot of good, topical punk rock. I gravitated to female led bands—so many refreshing voices out there. In this crazy world, there’s a lot to sing about. Here’s my picks for 2025. Of course, all have received the coveted 5 out of 5 Papsmear rating. These musical gems are malignant and may possibly cause ear worm-age.
Favorite Songs:
Pulp, “Spike Island.”
By far, this is the best song of the year for me. So catchy, comes from the gut, full of human longing and finding your purpose.
Matt Berry, “I Gotta Limit.”
While well known for his Lazlo character in What We Do in the Shadows, Matt is a man of many talents. His music catalog is varied, and his 2025 release is chocked full of gems like this duet with Kitty Liv.
Holy Death Temple, “Algo-Rhythm Is Gonna Get You.”
Truly a song for these times.
Edwyn Collins, “The Heart Is a Foolish Little Thing.”
Former Orange Juice frontman; it is so refreshing to hear Edwyn’s voice on a new track this year
Kid Cudi, “Submarine.”
Such an earworm.
Corlyx, “Witches Dance.”
Gothy, dance-y—all the things you want.
Nine Inch Nails, “As Alive as You Need Me to Be.”
Classic Trent #soneeded.
Adrian Crowley, “Cherry Blossom Soft Confetti.”
It’s warm and dark at the same time.
Laufey, “Lover Girl.”
Lounge perfection. Laufey hails from Iceland, mixing light jazz, pop, and bossa nova elements. I find a filthy dirty martini pairs well #extraolives.
Ty Segall, “Shoplifter.”
Love this tune!
The Nightingales, “The New Emperor’s New Clothes.”
British band that formed in 1979 and still putting out amazing stuff. From the album, The Awful Truth.
NightCrawl, “Lost Highway.”
Gothy goodness from Ireland.
MIEN, “Evil People.”
Title says it all.
Lael Neale, “Wild Waters.”
Great lyrics. Her voice is pure.
Marie Davidson, “Demolition.”
Strong release from Canadian singer and producer.
Assemblage 23, “Lunatics.”
Amazing song and lyrics:
Robber barons, ketamine cowboys
Vulture capital parasites
Unearned vanity, silicon sadists
Sharks with gluttonous appetites
Arrogant halfwits, nepotist failures
Trust fund vagrants, indigent kings
Dead weight desperates, amateur tyrants
Gilded goats with gossamer wings
The lunatics have taken the asylum
The wolves are left to guard the lambs
The inmates are governing the prison
And time is slipping through our hands
The lost are acting as a lighthouse
The blind are left to lead the blind
The ship careens without a rudder
And all of this is by design.
Favorite Albums:
Wet Leg, Moisturizer.
It’s perfect—every single track. Great live show too!
New Candys, The Uncanny Extravaganda.
So fucking good. Really would love to see this band live. Check out “Regicide,” “Crime Wave,” “Night Surfer,” and “Cagehead.”
Viagra Boys, Viagr Aboys.
Another great release from this amazing band. Songwriting cuts to the bone, and I expect nothing less. Great live show too. Favorites: “Man Made of Meat,” “Uno II,” “Waterboy,” and “Pyramid of Health.”
Automatic, Is It Now?
One of the strongest releases of the year from this Los Angeles band who takes their name from The Go-Go’s track. The Go-Go’s album, Beauty and the Beat, was a formulative album for me so no wonder I heart this band so much. Catchy melodies, good songwriting, so many great tracks on this CD. This three-member band features Izzy Glaudini, Halle Saxon, and Lola Dompe (daughter of Kevin Haskins/Bauhaus). Check out “Black Box,” “The Prize,” and title track.
Emi Pop, No Te Voy A Extranar.
Puerto Rican born, Seattle-based musician. This album is filled with catchy, Latin-flavored power pop. Favorites include: “Quiero Bailar Rocanrol,” “Amigos Vampiros,” and “Psicopata.” #so good.
Sprints, All That Is Over.
Another solid release. Check out: “Need,” “Rage,” and “Coming Alive.”
Raveonettes, Pe’ahi II.
Dark and yummy. “Killer,” “Lucifer,” and “Blackest” are highlights.
Garbage, Let All That We Imagine Be the Light.
Shirley is on fire with her lyrics here—one of their best releases ever and that is saying a lot. My favorites include: “There’s No Future in Optimism,” “Hold,” “Radical,” and “R U Happy Now.” #shirleyforpresident.
Lola Young, I’m Only Fucking Myself.
Excellent. Listen to: “Can We Ignore It?” and “D€aler.”
White Rose Motor Oil, Merry Crisis.
Best holiday album in years! So fun, so good. Check out their version of a holiday classic with “The Feminist Santa Baby,” “Hooray for Santa,” a great cover of Dolly’s “Hard Candy Christmas,” and “Sublime Majestic Orb”—every track is a must have for your holiday playlist.
Favorite Bands to Check Out:
The Vultures.
Not to be confused with another band of the same name. The only thing I can find on this band is that they are originally from London and formed in 2013. Check these musical gems, “I Go Ape,” “I’ll Kill That Girl,” and “Jack the Ripper.”
Panic Shack.
Listen to: “Girl Band Started Pack” and “We Need To Talk About Dennis.”
The Pill.
Check out: “Scaffolding Man” and “Posh.”
Be Your Own Pet.
Highlights include “Erotomania” and “Never Again.”
Gallus.
Favorites incude: “Cool To Drive” and “Depressed Beyond Tablets”
Society of the Silver Cross.
Wiccan gothic #enterthecircle.
Frankie and the Witch Fingers.
Listen to “Eggs Laid Brain.”
The Cocks.
“Sugar on the Rim” is fucking excellent.
Jesika Von Rabbit.
So impressed with the range and abilities on “Gotta Keep My Buzz Going.” There are some great covers too. #onetowatch.
38 Coffin.
Some super cool dark rockabilly. Listen to “Jacknife” and “666 Route.”
Church Burglars.
Favorites incude: “Invisible Man” and “Dr. Frankenstein.”
Great to Hear From:
Stereolab, Instant Holograms on Metal Film.
So lovely to hear Laetitia and Tim together and spinning some great songs: “Vermona F Transistor,” “Aerial Troubles,” and “Melodie Is A Wound.”
Buddy Guy, Ain’t Done With The Blues.
Gems include: “Upside Down” and “Swamp Poker.”
Rosetta Stone.
Gothy covers of “The Chain” (Fleetwood Mac) and “Sweet Emotion” (Aerosmith).
Kerala Dust, An Echo of Love.
London band band with expansive, atmospheric, yet deeply melodic, tunes—hard to describe but this is what you want to listen to when you are driving late at night or hanging out by an evening fire.
The Orb, Buddhist Hipsters.
Of note is “Doll’s House.”
Becky Black.
A couple new solo songs out from this half of The Pack AD—“Slow Burn” and “Body.”
The Pack AD.
Previously recorded in 2011 but just released this year on vinyl—a handful of great tunes. They are a must catch live. Got to see them again this year—even picked up Maya Miller’s new book, Genius Words.
Late to the Party:
Paul Cauthen.
Just found him—he has one of those voices. Check out “Cocaine Country Dancing” and “Cut A Rug.” #phenomenal.
I listened to many of the usual suspects this year—punk rock to save my life, jazz and instrumental music to sort out my head, and what have you. What follows are the albums and artist who wouldn’t leave me alone.
As I get older, I don’t really feel like I am presenting a list of music suggestions. It’s more a list of musical viruses, which attacked my musical sensibilities. Sure, I did make these choices and I wanted to listen to these records, but in the past my obsessions seemed more willful.
I feel like this is more a list of muses that I didn’t necessarily choose. These are albums that happened to me.
Dead Can Dance, Dionysus (PAIS. 2018).
An absolutely, mentally transforming masterpiece. Dionysus is right up there with the live album Toward the Within and Peter Gabrial’s Passion.
Feeder, Torpedo (2022), Black/Red (2024), Tallulah (2019), All Bright Electric (2016), and Best of Feeder – 3 CD Box Set (2017).
I probably listened to Feeder more than any other band this year. More specifically, I became obsessed with the later, or more mature, version of the band. I don’t really know their albums made before 2016, other than the newly remastered and expanded Comfort in Sound, as well as all the early tracks that show up on the Best of Feeder Box Set.
The later albums all suffer from overproduction, specifically the “loudness wars,” resulting in a muddy wall of noise. However, after repeated listening, I found my way through the sludge and wouldn’t change the sound now. It has become a part of their identity and an aspect of my love for these albums. Likewise, if one were to just randomly hear a Feeder song, it probably wouldn’t jump out as distinguishable from the rest of the commercial noise out there.
Still, I kept coming back to the songwriting, the melodic British strumming punctuated by Seattle “grunge” riffage. As the lyrics began to settle in, I found Feeder to be very healing and therapeutic. I needed to hear these albums, like I needed vitamins and leafy greens. I know this is partially due to my age and the things I think about on a daily basis. The albums were also an elixir for my tendency toward melancholia and cynicism. Somehow this band delivered that, as well as familiar mantras that I have had to tell myself every day for the last 45 years to stop myself from stepping in front of a bus. Life is precious and short. Take heed. Put love into the world.
The album Torpedo was my foot in door, but my life raft was the double album Black/Red. It was the best soundtrack for spending two weeks this summer driving around Alaska’s Kenai Peninsula—vast expanses, heavy glaciers, a dying Arctic, and an emotional response to impermanence. Don’t blink and don’t be afraid to cry.
Chris Cornell, Chris Cornell Deluxe 4 CD Box Set (2019).
This box set is beautifully packaged and highlights Chris Cornells various bands and projects throughout his life. It was a revealing and touching journey to wander though this retrospective.
I’ve been a fan of Soundgarden since the late 1980s. I also loved Temple of the Dog, but this box set gave me a glimpse into his solo work, various projects, and Audioslave songs. It was worth every penny.
Neil Young, Official Release Series #6.
This volume covers the years 1992 - 1995 and includes the albums Harvest Moon (1992), Unplugged (1993), Sleeps with Angels (1994), and the album Neil recorded with Pearl Jam, Mirror Ball (1995).
When Neil Young swings for the fences, he usually misses by a log shot. However, once in a while he creates a masterpiece. In the early nineties, he was on a role. The four albums included in this box set are some of my favorites. I have a lot of history with these records. I especially enjoyed revisiting Sleeps with Angels. Shortly after the release of Mirror Ball, he released the Dead Man soundtrack, which is also one of my favorite albums. Dead Man was reissued separately. I think this was the last great Neil Young creative period.
Simple Minds, Once Upon a Time Box Set (2025).
Originally released in 1985, this album was a big hit for the band, but I didn’t know it from a hole in the wall. I loved “(Don’t You) Forget about Me” from The Breakfast Club soundtrack, but that is where my knowledge of this Scottish band ended. I tried to listen to them over the years, but nothing stuck. For some reason, I got sucked into this box set, which contained the album, The Breakfast Club hit, B-sides, and a live show. I became obsessed with the song “Jungleland.” I’m sure there was something nostalgic about the sound that drew me in. I even got the album on vinyl too, where they added “(Don’t You) Forget About Me” to the end of side one. It fits perfectly.
Superchunk, Songs in the Key of Yikes (2025).
Over the last several albums, Mac and company have distilled the thoughts and feelings of aging punk rockers while living through our current social and environmental catastrophes and nightmares. Welcome to the new normal.
Bruce Springsteen, Inyo (2025).
Whenever I talk to someone about Bruce Springsteen, I have to figure out what person I am talking about, which depends on the knowledge of the person I am talking to. There are the popular images and mythology of Springsteen as the one-dimensional cartoon character, and then there is the Springsteen who represents a vast body of complex and nuanced work. Who are we talking about? I’m only interested in the second.
This year, Tracks II: The Unreleased Albums was released, containing seven fully formed unreleased albums. It was priced grotesquely high. However, it contains some of the greatest Springsteen albums ever recorded. Inyo is an absolute masterpiece with heartfelt lyrics, poetic beauty, and powerful social commentary. It contains mariachi instruments, violins, and drama. It is moving and cinematic. It reminds me of The Ghost of Tom Joad, but more above ground. Another album, Perfect World, feels like a sister album to Letter to You. I haven’t heard Bruce as pissed off as he is in the song, “Another Thin Line,” in quit a while. The Streets of Philadelphia Sessions is a bleak, but hopeful, internal meditation in the modern world with drum loops and keyboards. Twilight Hours is Bruce as a crooner singing original songs. He nails it. There are other albums in this box set that I haven’t had the time to spend with yet.
The breadth and quality of Springsteen’s work is astonishing. If you know, you know.
I hope these albums are released separately so wage slaves don’t have to throw down a ton of money for all of this.
Various Artists, The Fall of America II (2023).
I love the poet, Allen Ginsberg. I have most of the recordings of Ginsberg reading his own poetry. This new compilation, released by Allen Ginsberg Estate, combines a wide variety of artists who provide musical accompaniment to recordings of Ginsberg, and sometimes artists read his work themselves. A compilation like this could go either way. This one hits it out of the ballpark. It is an atmospheric and powerful display of his poetry presented in a cinematic way, which seems to enhance the poems’ meanings instead of distracting from them.
The Gaslight Anthem, The ‘59 Sound Sessions: 10 Year Anniversary Retrospective (2018).
I was rocking’ this CD in the car when I pulled into a parking space. I had to give myself a few minutes to wipe the tears from my eyes before I could enter the store. It is rawer than the original album and it only has nine songs. It also rocks.
Chicago, X (1976).
I don’t even like Chicago. I always skip the first song. My girlfriend wouldn’t stop singing “If You Leave Me Now.” I couldn’t stop listening to “Mama Mama.”
Notable mentions:
Jesse Welles, Middle (2023).
Dio, Lock Up the Wolves (1990).
Obituary, Frozen in Time (2005).
The Jerry Garcia Band, Live at the Warfield Box Set (2025).
Live Shows and happenings:
Black Dots It is a joy I get to see this band as often as I do.
Superchunk in Denver, Colorado.
Englebert Humperdinck in Las Vegas, Nevada.
At 89 years old, I was worried I might not ever get to see The Dinck. However, SoDak lit some fires and made it happen. Dreams do come true. Thank you.
Hanging out and talking with Keith Morris at The Punk Rock Museum. He was kind, gracious, honest, and generous with his time.
Standing in front of the Joe Strummer exhibit at The Punk Rock Museum and losing my shit. I do not have heroes. All people are human. However, looking at Joe’s beat up guitar, his hand written lyrics to “Comma Girl,” and his petit shirt was too much for me. I was standing alone in the room and tears just poured from my eyes. Joe’s lyrics and creative output had an enormous effect on my emotional, intellectual, political, and social life. He was just a small little man with a hole in his heart, no different than any of us.
My wife and I went to the Denver Broncos Game. What did we listen to?
Driving down to the game, we exited off I-25 to I-70 and got off on Pecos to sneak through the Highlands Neighborhood. I lived there for a bit when I was an undergraduate at Metro State University. It’s a pretty cool neighborhood. We crept down Federal and around the side streets looking for free street parking, as the paid parking can run $50 or more!
What was on the radio? “Dream On” by Aerosmith. I guess this is a fairly cool Aerosmith jam, I don’t know? Aerosmith seemed like one of those bands that got a lot of airplay and had a lot of hits, but does anyone know why? That is, except for “Sweet Emotion,” which is classic rock at its finest! “Yes it diddd.” Overall, as far as power rock bands go, I’d say they sound pretty milquetoast. I don’t know if anyone has used that word to describe Aerosmith before, but right now I feel pretty good about it.
It was a real nice day. As we moseyed through the neighborhood after parking, we could feel the energy build as the stadium rose in the east. The Broncos were playing the Green Bay Packers. We put this matchup together when noticing the cheese heads mixing in with all the Bronco fans walking to the game.
Waiting to go through the security line, they played: “Thunderstruck” by AC/DC. Yep, the easy choice, the fans love it. “Diddly diddly diddly diddly diddly diddly; aaah aaah uuhh uuhhh aaaaahhh uuuuuhhh; thunder.” I think I would still like this track more if the Iron Man movies didn’t ruin it for me. Even now, I start looking around for Robert Downey Jr. to come flying in. Yeah, I get it its cool to sellout, but it was different in the 1980s. I would say AC/DC and Aerosmith are a couple of sellouts, but what do I know. Who cares when you got rich from your songs? (More on AC/DC in the third quarter, and, yes, you can call me a moron.)
Possible joke idea: While waiting in the security line, I noticed some guy accidentally drop his box of anti-diarrheal medication. Although tempted to tell him, as he was unaware, I’m just not the kind of guy to point out such a thing to a stranger. I hope you enjoy the game, the overpriced refreshments, and the questionable lavatories!
We had some pretty good seats. There were a lot of strange heavy rap songs—few were recognizable—but all had big, danceable intro beats.
Around the 7:00 minute mark in the first quarter, they played, “Where the Freaks At?” by Timmy Trumpet and Savage.
I knew nothing about the song, so I dug into the interwebs. The genre is called Melbourne Bounce—who knows what the hell that means. This song is a perfect example of the evolution of the music industry back around 2014, as they are tunes that didn’t even need to be on an album. These guys just had one song! It was some sort of viral sensation, which they made with a bunch of computer beats and a trumpet hook. While I thought this track was pretty stupid, the crowd was definitely into it. Not sure the crowd could list another Melbourne Bounce track—actually I’m pretty positive they couldn’t.
The fans sure were some characters. There was a guy walking around dressed like Hulk Hogan carrying the Broncos Ten Commandments?! I’m sure the Ten Commandments were sponsored by someone, maybe Frank Azar or BetMGM? This in-person game experience was completely interwoven with ads. It was out of control—the penalty flags were sponsored by Ramos Law? What the fuck is happening?
It was 3-0 with the Broncos leading at the end of the first quarter.
What song did they play? “It’s Tricky” by Run DMC, which is a perfect song by the great crossover rap pioneers.
During the break between the quarters, the Denver Bronco Cheerleaders danced in the end zone, Fun! What song did they play? “Play Something country” by Brooks and Dunn. What a horrible choice, by a lame-o country band.
What would I have liked to hear? “Birmingham” by Shovels and Rope. This husband-and-wife duo from South Carolina leave it all on the stage every time. It would have been interesting to see the Cheerleaders dance interpretation of this track.
As the second quarter started, they spun the track “The Joker and the Thief” by Wolfmother. I thought this was a pretty excellent selection. My wife and I caught Wolfmother on tour after their first album. We sang and danced to every song, kind of what this Bronco crowd would like to do now, they but can’t quite put together a good dance move for this track. I get that. I would have gone with “Dimension” by Wolfmother, as it might have fit the mood a bit more, if you already got the album cued up?
We had some enthusiastic drunk Bronco fans in our seating area. It was pretty funny with their loud opinions complemented by F bombs. “You fucking suck it ref!” It was 14-13 Broncos, pretty good game so far.
Next up, they played: “Welcome to the Jungle” by Guns ‘n’ Roses. It seems that this track is de rigeur for any live sporting event. Good for them, as they are a fantastic band with some pretty good tracks. Appetite for Destruction was an incredible album! They probably should have packed it in before the tiresome “November Rain,” nonetheless.
Then they played, “For Whom the Bell Tolls” by Metallica. Pretty good choice, but there’s a number of Metallica songs that would’ve fit fine here—say “Seek and Destroy” or “Sad But True.”
Next, it was “Hypnotize” by Notorious B.I.G. It was great to hear this song. I loved it, and the crowd loved it. Sucks that such a cool jam was cowritten and produced by P.Diddy.
During all the breaks, I would have liked to hear, “I’m Only Sleeping” by the Beatles, maybe once or twice.
At the two-minute warning, at the end of the second quarter, they rolled into, “Get Low” by Lil Jon and the Eastside boys. No matter what I thought about this song, the crowd was ecstatic, even with just the thirty seconds or so that was played. People got up with heads bopping—a whole bunch of people, at least it felt like it, judging by the floor vibrations.
I randomly wondered if Broncos part-owner, the former Secretary of State Condoleezza Rice, was having a nice time up in the owners’ box. I’d love to pop in the owners’ box and opine some song suggestions to improve this game day experience. I was pretty sure I could get her to agree that U2’s “Elevations” track wouldn’t be a good selection even on a Desert Storm soundtrack. Next, I would talk with the WalMart heirs, the Penners (Bronco majority owners), about some soundtrack ideas. Why not put “Lost in a Supermarket” by the Clash on the WalMart soundtrack? Just trying to help.
When the Broncos got a big touchdown in the third quarter, they played some rap song with a sample from Nirvana’s “Smells Like Teen Spirit.” I couldn’t for the life of me figure out what this song was? This was another remix ruining an excellent song. We sat back down after cheering the score. I saw two guys walking around dressed to the nines as Denver Bronco-themed Mexican Elvises? Sponsored by T Mobile and Common Spirit health, I’d guess.
By the mid third quarter, it was Denver up 24-23. The DJ rolled out “Paradise City” by Guns ‘n’ Roses—the Maximillion dance Remix. This was a heck of an effort to ruin a perfectly fine rock and roll jam, Maximillion.
At the end of the third quarter, there was an injury, time outs, delays, and a lot of down time to say the least. The injured player finally got up, and they played “Making My Dreams Come True” by Hall and Oates. This was a pretty good selection from the sweet 1980s pop duo. I would have picked a different song, perhaps “I Can’t Go for That,” as it is my favorite Hall and Oates song. I’m assuming Condoleezza Rice would go with either “Rich Girl” or “Private Eyes.”
The Broncos got another touchdown, and they played “Whoo Hoo” by Blur. I thought this was a pretty good touchdown song from a mediocre band. Thinking about the Britpop genre, I would probably gone with the Stone Roses as the top band. This Broncos game soundtrack could use their track “Fools Gold” at one point, not sure when though?
Really every song they play was some kind of intro or walkup song, trying to capture the mood, if even just for a second or two. If they cut songs up, there’s some great choruses and hooks that would work as well. Maybe…each song could have a sponsor! Now there’s an idea! Here’s twenty seconds of “Hells Bells by AC/DC, sponsored by XCEL Energy!
In the fourth quarter, the soundtrack wrapped things up with a few gems.
“Misirlou” by Dick Dale, which was recognizable probably from Pulp Fiction soundtrack. I love how Dick Dale worked the Fender Stratocaster, as he finessed such a cool sound out of it.
“All the Small Things” by Blink 182. I am not really a fan of the band, but this selection worked okay.
“Are You Gonna Be My Girl” by Jet. This is a cheesy song, but a great choice!
Solid tracks wrapped things up. During quarters one through three, I’d say Condoleezza Rice would agree there were areas in need of improvement. For one, work in “And the Beat Goes On…” by the Whispers—the fans wouldn’t see that coming!
The top played tracks of the day were the intro to “Hells Bells” by AC/DC three or four times (#2), the intro to “Elevation” by U2 about 4 or 5 times (#1), what horrible songs. I am so done with U2 at this point, I still have the dumbass Songs of Innocence on my old iPhone LE and don’t know how to get it removed. Suck it Bono! Or as I call you, Boner!
Suggestions to improve the soundtrack:
During an incomplete pass: “I Missed Again” by Phil Collins. Solo Phil Collins is about as good as the 1980s ever got; he never sold out. This change isn’t going to happen, because the fans got the in-com-plete chant locked down. But think about it; Phil Collins would be a fresh change!
During a Broncos punt: “The Way It Is” by Bruce Hornsby and the Range. Bruce Hornsby is a crusher if only just for this one song—not sure if I have ever played this song just once at a time.
During a sack from the Broncos D: “Ms. Jackson” by Outkast. God, I love Outkast. Fuck all those other sellout rappers from earlier in this essay. Andre 3000 and Big Boi define the genre in such a “dope” way.
During a Broncos touchdown: “Get Up Offa That Thing” by James Brown. I caught James Brown at a LoDo fest in Denver back in the day with my college roommate, let’s call him Griffen. We were so hung over from partying the night before at the Cruise Room we didn’t have much of a good time. Neither did James Brown, it looked like, watching him struggle through those dance moves. As I write this, I can relate to those hip problems.
After the Broncos got a big touchdown, late in the fourth quarter, we decided to leave. It looked like the game was pretty sewn up at this point, as the Packers fan sitting next to me seemed pretty despondent. We still had a thirty-minute walk to the car and an hour drive home, so getting a jump on the crowd seemed like the best idea. As we were almost to our car walking through the neighborhood directly west of the stadium, we heard one more song. It sounded like the whole crowd of 80,000 or so were belting out “Take Me Home, Country Roads” by John Denver! There was about a minute or so left in the game, from what we saw on somebody’s TV as we walked by. The Broncos were going to win, nice. What a great way to bring this game to a close, let’s all sing a song together! Pretty cool to hear this song. My dad was friends with John Denver when they were at Texas Tech in the 1960s.
We got home and watched the original How the Grinch Stole Christmas. Important plot point: The whole town’s holiday singing pushed him over the line, to where “That’s it,” he had to steal Christmas. Nevertheless, hearing all those Broncos fan’s singing “to the place where I belong,” felt pretty great, no offense to the Grinch.
What’s a great Christmas movie? How the Grinch Stole Christmas (1966).
Man, getting a year-end list done in a timely manner is always a challenge for me. At the beginning of the year, I thought I would be proactive and start a list of things. And I did, for a few months. Today, I sat down with a cup of cheap coffee and tried to wade through the cobwebs of my memory to see what I could recall, as far as who I saw this past year and what my favorite records were.
Starting with live shows (that I can recall):
In April 2025, I brought Sorcia and Mother Root, from Seattle, to town. Both were touring the upper west of the United States, culminating at the annual April event, Rocky Mountain Riff Fest in Kalispell. They made it a point to jog a little farther east and hit Rapid City. And Rapid City was so glad they did. The show was phenomenal. Both Mother Root and Sorcia really brought some solid heaviness to the area. You could tell the bands liked the crowd we had that night. And, really, you couldn’t find a nicer group of people. While the show was great, my favorite part of any booking is hosting the bands at our home, cooking some food, and getting to know the people. I certainly was not let down. Their time in town was even better for me with good conversation and sharing meals. I believe I was hugged more by Mother Root than any other band in my history. As a lover of hugs, I was thriving in it and sharing love with good folks. Plus, Jessica from Sorcia brought beers from Black Raven Brewing, where she works. Stoked on sharing beers as well!
Earlier in the year, my favorite Black Hills brewery, Lost Cabin Beer Company, reached out and wanted to chat about an idea they had. To my joyous surprise, they wanted to start doing a monthly music event called Lost Cabin After Dark, where they would have “heavier” bands play (they usually had bluegrass artists at the tap room). They figured I’d be the guy to ask. I was excited to join this venture. I mean, I get to bring bands in, and the brewery won’t let me pay for beer during the shows (dangerous for me).
In May, we kicked of the first Lost Cabin After Dark with Living In (local solo acoustic artist who is just amazing), Howling Embers (heavy, psyche-y, instrumentalism created by true musicians), and local Enviro-Black Metal legends, Woman Is The Earth, who rarely play out.
The turnout was incredible, the vibe was fantastic, and all three acts were superb. It was a really great night.
In July, we were thrilled to host the heavy acid rock duo known as Burning Sister. They played with a new local band, Chongo, made up of long-time musicians. An ominous (and omenous?) night, indeed, as storms raged around the area. It may have been foreshadowing by non-existent gods, as the show was amazing. Chongo was just fun and heavy; they definitely had a groove. I’m down to see those fellas anytime. Denver’s Burning Sister was just an aural experience. Relentless volume and layers, in a good way. It gave the sensation of being crushed like an aluminum can, that appreciates the crushing. Everyone in attendance was blown away. Burning Sister was just as stoked on playing our little burgh.
August 9, another local brewery, Cohort, which recently purchased a former brewery’s taproom in the Black Hills (Hill City to be precise), wanted to start doing shows, outside, under the full moon. My band was asked to play this show, along with locals Mildred and the ever-amazing Zeis. Both were great, as they always tend to be. Us, not too much.
In mid-August, Denver’s pop-power-punk trio, Tuff Bluff played. I was very excited to have them in town, as I was a fan after seeing them play in Denver, opening for Off With Their Heads, a few years back. I loved their set then, and I couldn’t wait to hear some of the songs from their self-titled LP, which was vying for album of the year for me in 2024. The show was one for the ages with two amazing Rapid City local bands playing, Friends of Cesar Romero opened the show and Dead Marthas closed it down. The crowd was huge and engaged, and it was just a fun night all around. Again, hanging out after the show was just a bonus.
In October, we brought in M.A.N. (Mass Annihilation Now) to give some grindcore action to people of Rapid City. I can honestly say, that it was one of the funniest and most amazing shows I have seen in recent memory. Luckily, it was captured for posterity.
For the last live music in 2025, I took a short trip to Kalispell, Montana, in early November to see Wizzerd play their last U.S. show of the year (and on home turf to boot!), before they headed to Sweden to play a set at Fuzz Fest. Surf Bat opened, and they were phenomenal. I was told that they were playing a heavier selection of their songs, since they were opening for Wizzerd—they alter sets depending on the night. I’m really hoping to be able to bring them in to Rapid City at some point in the future. Of course, as always, Wizzerd was just a great time. They are a great group of very talented humans, and they know how to put on a show, whether it be on stage at a huge Swedish festival, or on the floor at the Kalispell VFW. If you don’t have a good time, it’s your own fault.
It is a joint venture, merging Mars Red Sky and Monkey3. This two-song album puts you on another world. I was looking forward to this one since I heard about it happening. *Album of the Year contender.
Howling Giant continues to get better and better. This album is the current pinnacle of their power, in my opinion. You’d be hard pressed to find a better band, recorded or live, right now. *Album of the Year contender.
Another Tennessee band that just continues to grow and grow. If you imagine heavy music with soul, you get Year of October. I’ve been harassing them for years to come to Rapid City, and my wish will come true this coming summer. This album may be their best recorded effort yet, and that’s saying quite a bit, as I’ve really enjoyed everything they’ve released. *Album of the Year contender.
Great pop/wave punk out of Leeds, United Kingdom. I was hoping to write up a review for this album, but time never seems to be on my side. Definitely worth checking out!
The first album released as a duo, after their guitarist moved away. Just solid and heavy and brooding and heavy and heavy. Did I mention heavy? Not plodding, but solid and planted for sure. *Album of the Year contender.
Doom, mixed with brass instruments, doing holiday(ish) songs, with proceeds benefiting families in Gaza. What is not to love about this? I’ve dug Eight Foot Manchild ever since I was introduced to them by my son. Just the idea of doom and brass combined intrigued me. And, after following them on social media and seeing them call out nazis, homophobes, and transphobes, and just being of a common mindset, I seem to love them more and more on the daily. Plus, with this EP, there are some brilliant surprises you should enjoy. *Funnest release of 2025.
There you have it. Indecipherable ramblings about what I could remember about 2025. Will I do better in 2026? Probably not. But who can tell! Go check out these bands and support your local scenes!
Here are my favorite records, concerts, and other musical interests of 2025.
Records:
Bruce Springsteen, Tracks II: Lost Albums (2025).
This boxset is a quite a gift, consisting of seven unreleased records—L.A. Garage Sessions ‘83, Streets of Philadelphia Sessions, Faithless, Somewhere North of Nashville, Inyo, Twilight Hours, and Perfect World—recorded between 1983 and 2018. While covering a wide range of musical styles, each record is consistent and cohesive. My favorite records in the boxset are Inyo, Perfect World, and Streets of Philadelphia. I love these records so much that I would have to reassess my favorite five Springsteen records (see https://tickleyourtaint.blogspot.com/2023/11/our-five-favorite-studio-records-bruce.html). Across the seven records, there are only a few songs that I did not care for. This boxset is a treasure.
Superchunk, Songs in the Key of Yikes (2025).
Superchunk continue to be one of the most consistent bands putting out high-quality punk rock music with great riffs and catchy choruses. Songs in the Key of Yikes kicks off with the infectious “Is It Making You Feel Something?” From song to song, you will be jumping around the room, aspiring to be as active as Mac McCaughan is on stage. My favorite song is “Everybody Dies.” I was fortunate enough to see Superchunk again this year. It was a special time, as so many friends were also there to share in the beautiful experience.
Bonnie Prince Billy, The Purple Bird (2025).
Will Oldham is an extremely prolific musician. While I am fan of his entire catalog, my favorite records under the name Bonnie Prince Billy are I See a Darkness (1999) and Master and Everyone (2003). The Purple Bird is a perfect companion to these records. Exceptional folk-country record. This is a must have.
Minus the Bear, Menos el Oso (2005).
While seeing Minus the Bear records for decades, I never listened to them. I really missed out on years of enjoying their music. I saw them on their reunion tour this year, where they played Menos el Oso in its entirety. The performance was brilliant. This experimental, indie band is quirky, yet very catchy. I have been obsessed with “Drilling.”
Ways Away, I’m Not You (2025).
This is the third full-length record from Ways Away. Sergie Loobkoff from Samiam plays guitar, and Jesse Barnett from Stick to Your Guns sings and plays guitar. Ways Away definitely sounds like a Sergie band, but the vocals are a little gruffer, while being melodic. I really love this band and hope I can see them play at some point. Check out “Despairia.”
Willie Nelson, Oh What a Beautiful World (2025).
At 92 years old, Willie Nelson remains more prolific than so many musicians. Yes, his voice reveals the passing of time, but Buddy Cannon, the producer, and Willie continue to bring forth the beauty and power in these performances. On this record, Willie covers songs by Rodney Crowell. There is only one bluesy number that I would remove, as it disrupts the consistency on the record.
The Ex, If Your Mirror Breaks (2025).
It has been eight years since the last record by The Ex, who formed in 1979. The world is a little better every time that they share new music. I love their hypnotic mix of punk, Ethiopian folk, jazz, and noise. The three guitars create a chilling tension, culminating in a powerful release of energy. They continue to incorporate calls to action against the fascist and bourgeoisie who destroy life. We need this music and passion.
Bob Mould, Here We Go Crazy (2025).
Some Bob Mould records are more immediate and special than others. For me, his most recent record is exceptional. The songs are very dynamic, with very catchy melodies. This may be one of my favorite records by him.
Waylon Jennings, Songbird (2025).
Shooter Jennings is going through his father’s tapes, discovering unreleased tunes. Songbird includes songs recorded between 1973 and 1984. The record has a classic sound. Waylon’s voice is strong. It is so wonderful to get a new Waylon record at this point in life.
Propagandhi, At Peace (2025).
Over the years, Propagandhi has forge a unique sound combining punk, hardcore, metal, and progressive elements. The guitar hooks are catchy, yet they are quirky and challenging at the same time. It takes time to digest their most recent records. The title track is remarkable and hard hitting. I also love that they incorporate the music and lyrics of Bruce Cockburn’s “Lovers in a Dangerous Time” at the end of the song.
James McMurtry, The Black Dog and the Wandering Boy (2025).
James McMurtry regularly delivers very strong records with well-crafted songs and thoughtful story lyrics. Like any of his records, it is best to settle into the music and just listen, enjoying the twists and turns in the world he presents.
Jason Isbell, Foxes in the Snow (2025).
Jason Isbell is an exceptional musician. I have seen him perform a few dozen times with both the Drive-By Truckers and solo. Foxes in the Snow is just Isbell playing guitar and singing. My expectations were quite high, as this is what I have been wanting to hear. While the record is very good, it is one of his weaker ones, in part because much of his previous work is so strong. Additionally, the songs on this record are more impactful when he performs them with his band. Nevertheless, I keep returning to this record and enjoying more and more.
Hiromi, Out There (2025).
Hiromi Uehara is a virtuosic pianist. She is fucking mind-blowing—go watch videos of her playing solo. (It is also worth watching her interview with Rick Beato: https://www.youtube.com/watch?v=xcKd9OkMPcc.) On Out There, Hiromi plays jazz fusion with an impressive ensemble, consisting of bass, drums, trumpet, and, of course, piano. The compositions and performances grab my attention every time I spin this record.
Pelican, Flickering Resonance (2025).
It had been a long time since I last listened to and had seen Pelican. This year they opened for Russian Circles with a very powerful set that left me wanting to hear more of their music. Their new record delivers with a stunning collection of post-metal instrumental songs.
Dorothy Ashby, Afro-Harping (1968).
Dorothy Ashby is a harpist who demonstrated that this instrument could be the lead in jazz compositions. The range of what she performs is mind-blowing, from funky grooves to smooth meditations. Her version of “Soul Vibrations” is quite spacey and trippy. For the last couple of months, I get lost in this record, just sitting here enjoying these magical songs.
Social Unrest, Off the Shelf (2021).
I loved the 1980s California band Social Unrest, regardless of who was singing for them. Check out The Complete Studio Recordings Volume 1 and Volume 2 on New Red Archives. These CDs include the early seven-inch records and classic albums. I was surprised to see on discogs a record called Off the Shelf. It was very hard to find useful information about the record and even more difficult to find a copy to buy. Side A consists of songs recorded in 1999 for a record that never materialized. Side B includes songs from a live show in 1982. I loved hearing the additional studio tracks, as the band continued to expand their sound.
Idlewild, Idlewild (2025).
Once I finally gave Idlewild a serious listen, thanks to Null, I was completely hooked. Their progression from a punk rock to more of an indie rock band is fascinating, as demonstrated across an impressive series of records—minus Interview Music (2019), which is very disappointing. Their 2025 self-titled record is a return to form, as it feels like it fits within the progression more cohesively. Great percussive section, excellent guitar hooks, and evocative vocals. I really like “Like I Had Before” and “It’s Not the First Time.”
Miles Davis, Sorcerer (1967), Nefertiti (1968), Jack Johnson (1971), and On the Corner (1972).
While I had many of the records in the boxset, The Complete Columbia Album Collection, I picked up this seventy CD collection. I wanted to spend time listening to them in order. I found I was really drawn to these four records and kept listening to them many times over throughout the year.
End It, Wrong Side of Heaven (2025).
End It is always awesome live. This year it was exhilarating to hear Akil Godsey candidly reflect upon how fucked up things are in the United States, while demanding action and social change. He channeled his anger into the performance, while it was evident that his life is deeply rooted in love. His exceptional singing, outside of the hardcore norm, is evident on “Could You Love Me?” Truly beautiful and stunning. The rest of the record also fucking rocks. I regularly replay this record several times in a row whenever I am listening to it.
The Youngers, Dreaming (2025).
The Youngers are an alternative country band from Pennsylvania. I loved their debut record, Output (2005). The records that followed are solid. Fortunately, Dreaming reminds me of the magical moments of their first record, as far as the richness of the vocals, harmonies, and organization of the songs.
Styx, Circling from Above (2025).
Styx is on a late career roll. The last couple of records integrated more of the progressive elements that defined their earlier years. Circling from Above is a strong record, highlighting the layered vocal harmonies. Check out “Build and Destroy.”
Chameleons, Arctic Moon (2025).
It has been exciting to have the core members of the Chameleons playing together again. Their live performances are captivating and powerful. Their new record is solid. I am hoping that they stay together for additional records and tours.
Sunny Sweeney, Rhinestone Requiem (2025).
The last few Sunny Sweeney records are excellent. Rhinestone Requiem continues this streak. She is crafting top-notch classic country songs, and she has a wonderful voice. Listen to “Traveling On.”
Dissent, Epitome of Democracy (1989, 2025).
This year Rabbit Rabbit Records/Press reissued a remixed and remastered version of Dissent’s Epitome of Democracy as a double album. It sounds wonderful. The extra record includes their last seven-inch record, plus some compilation songs and extra tracks. I have always wanted this material to be brought together. I plan to write a review of this punk rock record.
Scowl, Are We All Angels (2025).
Many folks have been disappointed by Scowl’s more melodic sound on the new record. I think the record is still excellent. Kat Moss has a great voice, regardless of how she is singing. The songs still rock. Their live performance remains awesome.
Lathe of Heaven, Aurora (2025).
Five-Inch Taint introduced me to Lathe of Heaven. Glad that he did. This post-punk, gothic band really resonates with me. They have a great introspective sound that complements personal and political lyrics. The songs are very cinematic and dreamy.
Fish, Weltschmerz (2020).
Weltschmerz (world pain) marked the end of Fish’s musical career. Musically and vocally, Fish creates a complete experience, immersing listeners in his progressive rock creation. He demands attention. His records are often dark, filled with melancholy and world weariness, as well as political critique. These themes are interwoven with personal reflections on illness and bereavement. Listen to “Weltschmerz” and “Garden of Remembrance.”
Bjorn Riis, Fimbulvinter (2025).
Airbag guitarist Bjorn Riis also has a prolific solo career. Within progressive rock, he tends to play more melodic and mediative music. On this record, he integrates some dark, indie rock influences. He is heavily influenced by David Gilmour, as heard in his wonderful guitar solos. Check out “Gone.”
Flatland Cavalry, Wandering Star (2023).
Wandering Star is Flatland Cavalry’s fourth record. The first song is fine, but I think the feeling and coherence starts with the second song. This is an excellent mellow country record.
Babe the Blue Ox, (Box) (1993), People (1996) and The Way We Were (1998).
A welcome discovery this year was Babe the Blue Ox, a band that formed in 1991. They were an opening band at one of the Alice Donut shows in Brooklyn this year. They are quite eclectic, reminding me of college rock bands from the 1980s and early 1990s. From time to time, I think of Firehose, a little bit in terms of the sound, but mostly in regard to the creativity and spirit. Excellent band.
Mares of Thrace, The Loss (2025).
PaulySure highly recommended Mares of Thrace to me, shortly before we saw them play. This two-piece was incredible, laying down heavy, blackened sludge/doom. I had goosebumps almost the entire time they were playing. I picked up the most recent record and have been reliving the performance.
Budos Band, Budos VII (2025).
Budos Band always delivers. Their instrumental mix of doom, Afro-funk, jazz, and psychedelia is hypnotic. They warm my heart. I just want to dance and headbang while listening to them.
Worriers, Trust Your Gut (2023).
Unfortunately, Lauren Denitzio decided to end the Worriers this year. I regret missing the Worriers show a couple years. They released a strong series of records, with catchy songs. On Trust Your Gut, I really love “Hold My Breath.”
Soviet Soviet, Endless (2016).
Earlier this year, Null told me how much he was enjoyed this Soviet Soviet record. Strangely, I discovered that they were already on a list of records I wanted to pick up, but I had forgotten about them. They have a 1980s post-punk sound, think of Joy Division. Andrea Giometti’s bass playing and vocals capture my heart.
Wytch Hazel, V: Lamentations (2025).
I really like this fucking Christian band. This is not because of their lyrics and message. But I love their 1970s hard rock/classic metal sound. There are obvious Wishbone Ash influences, which I love, but they have created their own approach. They consistently put out good records.
Richard Dawson, End of the Middle (2025).
This progressive folk record captured my attention this year. I just picked it up at the store, thinking it would be interesting. As I played the record, I stopped what I was doing to just listen, in part given the vulnerability in the delicate and quirky vocals and the intriguing guitar playing.
Kathleen Edwards, Billionaire (2025).
I am always pleased to have a new Kathleen Edwards record. Her folk-rock songs are soothing, especially given her slightly raspy, vulnerable, and powerful voice. Her songwriting is excellent. In addition to helping produce the record, Jason Isbell plays guitar, offering some tasty solos on many of the songs. Excellent record for a road trip.
Brilliant intense hardcore. They throw in some powerviolence and chugging parts for good measure. Still hoping to see them play a show.
Brutus, Unison Life (2022).
I finally picked up the 2022 record by Brutus. Stefanie Mannaerts has an amazing voice that is haunting and powerful, which fits this post-hardcore band perfectly. Captivating songs. I am still kicking myself that I was not able to see them when they played in town the last time they passed through.
Sam Barber, Restless Mind (2024).
Sam Barber and Zach Bryan share quite a few similarities, given the emotional raw vocals and sparse instrumentation. I am fine with this, as this double CD is excellent. My wife even likes it, which is rare as far as country music is concerned. This record is perfect for road trips and will keep you awake through the dark.
Canal Irreal, Someone Else’s Dance (2024).
So pleased that there is a second record by Canal Irreal, which features Martin Sorrondeguy from Los Crudos. Canal Irreal blend punk, hardcore, and post-punk, which brings out different vocal stylings from Martin. The Wipers influence is still present. From time to time, I also hear a touch of Articles of Faith, not necessary as far as the music, but in the desperation of the vocals. The lyrics offer rich social commentary on queer identity and immigration issues.
Testament, Para Bellum (2025).
Testament has become one of the most consistent of the 1980s thrash bands at still delivering fast, crushing, intense records that are actually good—in contrast to three of the so-called Big Four thrash bands. At the same time, they continue to expand their songwriting, exploring new territories. On this record, they integrate some black metal elements, without them being annoying and generic. Chuck Billy has always had a stunning voice, especially given his ability to shift vocal tones and style within songs. The songs rip and are memorable.
Coldbringer, Lust and Ambition (2006).
I bought this record primarily because Grant Kasten plays guitar. Grant is an old friend, who has played in numerous bands such as Demise, Animal Farm, Ojorojo, Pressing On, Talk Is Poison, and many others. Coldbringer is quite a change for Grant, as the songs are more reminiscent of bands such as the Wipers, Naked Raygun, and Leatherface. I generally love most things that make me think of Leatherface, as far as the gruff melodic vocals with catchy guitar riffs. This is a great punk rock record.
Matt Berninger, Get Sunk (2025).
The singer of the National put out his second solo record. In many ways, it sounds like a mellower National record, and I love this. Moody, emotional, catchy, perfect.
Mary Chapin Carpenter, Julie Fowlis, Karine Polwart, Looking for the Thread (2025).
This collaborative folk record is perhaps the best album Mary Chapin Carpenter has released. All their voices are beautiful and moving. Great songs. I also appreciate being introduced to two Scottish musicians, who have put out wonderful records.
Militarie Gun, God Save the Gun (2025).
This record is catchy and makes me want to move. I like developments in Militarie Gun’s sound. While they are described as a melodic hardcore band, the hardcore aspects are minor on this record.
Silence, The Countdown’s Begun (2019).
This record has been sitting in my basement for years, as I was far behind on listening to my stack of vinyl. In many ways, it is perfect for the resurgence of post-punk bands today. Great political band. Now, I need to pick up their other record.
Gene Loves Jezebel, Love Death Sorrow (2023).
In the 1980s, I really liked Gene Loves Jezebel. They had a unique sound, in part due to the vocals of Jay and Michael Aston, as well as the mix of post-punk, gothic, and glam. I continued to follow the band. Eventually, the two brothers split, each forming a version of Gene Loves Jezebel, one based in the United Kingdom and the other in the United States. I have seen both bands and enjoyed talking with both brothers. Interestingly, each brother liked whatever rock shirt I was wearing on the nights that I saw them play. Not sure why, but I missed the release of this record, by Jay Aston’s Gene Loves Jezebel. It is a mix of original and cover songs (Magazine, The Cure, and the Only Ones). Jay’s voice still sends chills through me, given the haunting, emotional quality. This is a great record for dark winter nights.
Alan Reed, First in a Field of One (2012).
I am still not sure why I picked up this record, but I am glad that I did. Alan Reed used to sing for the neo-prog band Pallas. His emotive voice is quite powerful. The songs consist of a mix between Celtic folk, world, progressive, and pop music. It is a pleasure to listen to this record.
Soulside, A Brief Moment in the Sun (2022).
I am thrilled that Soulside regrouped, recorded new music, and has been playing shows. I loved their first two records. Their post-hardcore and complex groove elements are enthralling. I think A Brief Moment in the Sun is as good as anything Soulside has released.
Squint, Big Hand (2024).
I have been wanting to pick up Squint records for years. I finally got around to it. I wish I would have bought this earlier. Great hardcore punk with some discordant elements. Some of the songs sound like Drug Church, which I love.
Zach Top, Cold Beer and Country Music (2024).
Zach Top’s star seems to be ascending this year. His new record Ain’t in It for My Health is fine, but I by far prefer his previous release Cold Beer and Country Music, as it is a very cohesive work. This record is reminiscent of late 1980s and early 1990s records by George Strait and Alan Jackson. Listen to “Never Lie.”
Dylan Earl, I Saw the Arkansas (2023) and Level-Headed Even Smile (2025).
Dylan Earl has both mainstream and alternative country elements in his music. His vocals are pleasant, making for a nice experience while rambling down dusty gravel roads. I am pleased that on “Outlaw Country” on Level-Headed Even Smile, he opens the song with “I’d rather be a bootlegger than a bootlicker/A side stepper than a homewrecker/And I don’t get a pick me up/From putting other people down/And it’s clear to see by the air I breathe/Working-class solidarity/Is the only way/We’re gonna stamp that Fascist out.”
Daniel Hope, Alexey Botvinov, the new Century Chamber Orchestra, Music for a New Century (2023).
Beautiful ensemble, playing very moving music. My heart needs this on a regular basis.
Spiritual Cramp, Rude (2025).
Punk rock that makes you want to bounce around. The record is catchy as fuck. They integrate a lot of punk influences, while offering a fresh take. For instance, “Go Back Home” is very similar to several Ramones songs. They put on a good show, even though the singer has an annoying schtick, as he acts rather dickish.
Arm’s Length, There’s a Whole World Out There (2025).
This is a great emo-punk record. I kept coming back to it this year, relishing each listen.
Public Opinion, Painted on Smile (2024).
Great punk rock record, with strong guitar riffs and melodic choruses. I hope to catch them live at some point.
Future Virgins, Western Problems (2011).
I think this record caught my interest due to similarities to Superchunk. The songs are rawer and a little sloppy, but they are very catchy. Good shit.
First Attack, No Escape (2025).
First Attack includes members of Alternate Action and Bishop Green. As First Attack, they deliver straight-ahead, mid-tempo catchy punk oi!
Kassi Valazza, From Newman Street (2025).
Kassi Valazza always reminds to me of Mary McCaslin’s folky, country-tinged, music. It is comforting and perfect for watching the leaves fall off the trees, as the colder temperature arrive.
Anxious, Bambi (2025).
Anxious return with another impressive emo, post-hardcore record. The songs are cathartic, even for this aging man.
Morgan Wade, The Party Is Over (Recovered) (2025).
On this record, Morgan Wade revisits her earlier songs, offering a fresh interpretation. Her country-rock approach is dynamic, complementing the exploration that takes place through her lyrics.
Visions, Decay (2025).
I think I like the first Visions record more than this one, but I keep returning to Decay as I want to internalize it. As a gothic/post-punk band, there is quite a theatrical aspect to these songs. I really like Sara Heise’s vocals, which remind me of Jae Monroe from A.P.P.L.E., with a slight Patti Smith vibe. Insightful songs about the oppressive systems that dominant our lives.
Close Lobsters, Post Neo Anti (2020).
I had no idea that the Close Lobsters regrouped in 2012. I was quite smitten with their Foxheads Stalk This Land (1987) when it was released. They fit perfectly on college radio stations with their jangly music. Listening to their record, Post Neo Anti, brought back the feelings that I had in the late 1980s when hearing them. Great songs.
Fleshwater, 2000: In Search of the Endless Sky (2025).
I did not realize how popular Fleshwater were until I tried to attend their show this summer. The show was sold out, so I was not able to get a ticket. I really like their amalgamation of post-hardcore and shoegaze. Marisa Shirar has a stunning voice, creating an emotional connection within the music.
Straw Man Army, SOS (2022).
The existential crisis of humanity continues. Straw Man Army, an anarcho-punk band, take up these issues. Their music is very accessible and mid-paced. On this record, there is a strong post-punk approach, with almost spoken lyrics. The songs are hooky and intensive, without much distortion. I still need to pick up their most recent record.
Book of Revelations, Chapter One: The Plumes of Enceladus (2023).
This record is not the most original, as it sounds very much like early Genesis and early Marillion, which is perfectly fine by me. This is very solid progressive rock music.
Homefront, Watch It Die (2025).
The second full-length record by Homefront is much more fully realized, as far as its songwriting and production. The record is packed with indelible guitar, keyboard, and drum hooks. There is an urgency and energy that makes the songs exciting. Within this post-punk/new wave record, there is quite a bit of variety as far as the songs are concerned, so each song stands out as distinct. I am drawn to the more upbeat songs with elements of street punk and oi!, but the slower moody songs are part of what makes this record very dynamic. On “Young Offender” they integrate a Ramones riff in a couple spots. My favorite tracks are “New Madness,” “Light Sleeper,” “For the Children (Fuck All),” and “Young Offender.”
Helloween, Giants & Monsters (2025).
In 1985, I picked up Helloween’s Walls of Jericho to much delight. The cassette tape was in the import bin at the local record store. I was excited to have a new speed metal band. At the time, the singer had a unique voice, which made the band stand out. I followed the band for a few years, with the change in singers, and then just picked up records occasionally. Nevertheless, I have always been fascinated by how the band’s sound changed, as they became a so-called power metal band. I think they are quite distinct within this genre. I also appreciate the strong Iron Maiden influence. In 2016, Helloween regrouped with all three of the individuals who were lead singers, as the band decided to integrate all of them into the music moving forward. Giants & Monsters is the second studio record with these three lead singers. It is quite remarkable. I like the dynamism of them having three singers. The songs are powerful and filled with hooks. The sound on the record is very big. Part of what made this record so special this year was listening to it for the first time with Kloghole, as this fall we were able to share several days together after not seeing each other for a few years. Listening to music, while talking with a friend, reminds me of being young and discovering new records.
Pøltergeist, Nachtmusik (2024).
At the start of this year, when it was still cold, I enjoyed listening to this Pøltergeist record as I walked around the neighbor at night. I like the mix of post-punk, shoegaze, and metal. The songs have driving rhythms and great hooks. The somber voice and mood of this record is excellent for the winter months. Check out “Cold in September,” which reveals some Cure influences.
The Quivers, Oyster Cuts (2024).
Last year, my sister-in-law raved about the Quivers after seeing them open for Superchunk. This is a great record. At times, their sound is reminiscent of Mates of State, in part due to the brightness of the songs, the layered harmonies, and the cadence of the vocals. The plus with this record, however, is that I do not get annoyed and feel exhausted by the sound like I do whenever I hear Mates of State. Plus, the Quivers have shimmering guitars and melodic bass lines, all positive additions.
Appalachian Terror Unit, We Don’t Need Them (2015).
Appalachian Terror Unit are a great anarcho-punk band. I get chills every time I spin this record. It is straight ahead crust punk with shouted vocals, loaded with critique of the existing political order generating global destruction.
Peter Perrett, How the West Was Won (2017), Humanworld (2019), and The Cleansing (2024).
I regularly spin the self-titled record by The Only Ones, as I love the song “Another Girl, Another Planet.” (I think Superchunk should do a cover of this song, as it is perfect for them.) It is only this year that I finally bought the vocalist Peter Perrett’s solo records. It has been an immense joy to hear his voice and newer songs. The hooks are here. His dry wit and sharp observation remain. Joyous.
Song:
Danbert Nobacon, “To Be or Not to Be” (2025).
Danbert Nobacon, of Chumbawamba fame, continues to put out excellent music. His critique remains sharp, skewering the absurdities, cruelties, and death drive of capitalism. I often listen to this song in the morning, as part of getting ready for what the day will present.
Concerts/Shows:
I went to over a hundred concerts/shows, plus one festival, in 2025. Overall, I saw lots of excellent performances. While I went to numerous shows by myself, I loved being able to share many of these evenings with loved ones, including my wife, sister-in-law, Null, PaulySure, AntiChrist-iansen, Five-Inch Taint, Roger, and Spooner D. Quite a few of these shows were the final tours for the bands/artists. Null and I, along with our partners, finally saw Engelbert Humperdinck. It was great to see Null so happy. Five-Inch Taint and I were able to see Alice Donut twice in Brooklyn and then Gang of Four in Denver—thanks Five-Inch Taint for making this happen. My wife and I saw the Interpreti Veneziani String Ensemble play Vivaldi in an old church in Venice.
My favorite performances included: Alice Donut (twice), Gang of Four (twice), La Armada, End It, Superchunk, Snow Patrol, Bloc Party, Herb Alpert, Gillian Welch and David Rawlings, James McMurtry, Betty Soo, Bruce Dickinson, Samantha Crain, Kruelty, Drayton Farley, Whitey Morgan, Russian Circles, Pelican, Jake Xerxes Fussell, Refused, Quicksand, Vieux Farka Toure, Victims Family, Nasalrod, Babe the Blue Ox, Trauma Ray, Jason Isbell, Napalm Death, Melvins, Agriculture, Rhododendron, Neko Case, Minus the Bear, Mary Mother of Bear (four times), Robyn Hitchcock, Obituary, Tribulations, Unto Others, Cock Sparrer, Peter Hook and the Light, Social Distortion, Power Trip, Flag, The Adicts, The Damned, Spiritual Cramp, Angel Dust, Youth Brigade, Codefendents, Western Addiction, New Bomb Turks, Ryan Adams, Gong, Dave Alvin and Jimmie Dale Gilmore, Nadezhda (twice), X, Los Lobos, Built to Spill, Scowl, Band of Horses, Bad Religion, Dropkick Murphys, Dale Watson, Steve Earle, The Sword, Big Country, Billy Idol, Baroness, Castle Rat, Sunny Day Real Estate, Cursive, White Buffalo, Mares of Thrace, Paper Kites, James, Slow Crush, Charger, High Vis, Elliott, Jawbreaker, Texas Is the Reason, Murder By Death, GBH, Joshua Ray Walker, Nolan Taylor, Golpe, Dean Johnson, Hot Mulligan, Drug Church, Arm’s Length, Black Dots, Beton Arme, and Dark Thoughts.
Films/Documentaries:
My favorite two music documentaries were Devo (2024) and Freak Scene: The Story of Dinosaur Jr. (2020). Other enjoyable documentaries included: Phil Collins: Drummer First (2024), The Ventures: Stars on Guitars (2020), Becoming Led Zeppelin (2025), Sly Lives (aka The Burden of Black Genius) (2025), I Get Knocked Down (2021), Billy Joel: And So It Goes (2025), ABBA: Against All Odds (2024) and Hollies: Look Through Any Window 1963-1975 (2011).
Favorite Music-Related Books:
Dave Alvin, New Highway: Selected Lyrics, Poems, Prose, Essays, Eulogies, and Blues (2022).
Dave Alvin is an exceptional musician, playing a wicked guitar. He is also a masterful songwriter. His most recent book collects various writing by him. It is a pleasure to read his poems and lyrics. The treat here is to read his essays and reflections about other musicians. His story about the Blasters playing shows with Black Flag is fascinating.
John Doe with Tom DeSavia and Friends, Under the Big Black Sun: A Personal History of L.A. Punk (2017).
This book compiled stories from John Doe and numerous friends about the burgeoning Los Angeles punk rock scene. In some ways, I enjoyed these accounts more than some of the documentaries that have been done, as the sustained narrative brings more relationships and connections to light.
Rob Halford, Confess (2021).
I grew up listening to Judas Priest. Rob has a stunning voice. He can also tell a good story. I really like grandpa Halford, as an elder statesman.
Steve Diggle, Autonomy: Portrait of a Buzzcock (2024).
Steve Diggle offers a rich account of Buzzcock history, his relationship with Pete Shelley, shows through the years, recording sessions, and his hedonism.
Other Music Treats:
Null, my sister-in-law, my wife, and I enjoyed touring the Punk Rock Museum with Keith Morris as a guide. While the tour was supposed to be 90 to 120 minutes, Keith shared stories for over three hours. He was quite engaging, funny, and kind. Thanks.
Almost all my picks are from this year. It was a fantastic year for music. The following are in no particular order.
Kathryn Mohr, Waiting Room.
Powerful, bleak, and punishing. An isolating work that puts you in a dark room with the artist.
Tetragrammacide, Cyber Tantric Paradigm of Radical Sri Vidya.
Blast beat good. Blast beat life. Something something cyber nuclear Kali Om Kring Kalikaye Nama. (It’s really good!)
Omar Hound, OLDWORLD.
An extremely textural work of drone/ambient. I felt near the end of the record that the work itself is somehow profoundly spiritual. How, I can’t say. Just something you might catch on the wind when this album is playing.
YHWH Nailgun, 45 Pounds.
The hipster darlings have outdone themselves. An album of left turns and lurching vocals, while the synths seem almost tropical in comparison. So many genres of underground mashed together it’s no wonder it calls to horn-rimmed glasses wearing trendsetters like the Green Goblin mask from Sam Raimi’s Spider-Man.
Sumac, The Healer.
Though it came out last year, I had the pleasure of seeing them play this entire album live this year. And it was incredible. I’d not heard it ‘til I saw them, and I was totally floored, and bought the record then and there. It was like being beaten by a caveman under a deafening cacophony of incredible musicianship. A few years ago, I’d seen them at the DLC in Salt Lake City, and they topped that performance by miles.
Cities Aviv, Electric Chair.
Something I’ve always liked about Cities is that his music has a deteriorating quality to it. Crooning poetry over static hissing while the electrical pops of the samples make it sound like the song might be a little more distorted upon the next listen.
Cross Record, Crush Me.
I feel like I could use the word “texture” over and over again in these blurbs, but again, this album is so heavily textured in interesting ways that I had to keep guessing what certain sounds were. On top of that, it’s a great indie/alt-rock adjacent record that rewards a listener with subsequent listens.
ece era, Bedside Tunes (Lights On).
I’m a sucker for any electronic, glossy record with vocals buried so deep in the reverb that lyrics may as well not matter. Snowfall on neon lights, fun, dancy beats and ethereal synths.
Evoken, Mendacium.
I’m glad that, even in the tidal wave of great doom metal that came out this year, Evoken continually seems to occupy their own little corner of the genre. The funereal stalwarts put out a record that is both meditative and catchy, despite its glacial pace.
Primitive Man, Observance.
Primitive Man seems to have mastered the art of distilling actual human despair into something sonic. Where I prefer the more frantic uproar of the vocalist’s other band Vermin Womb, this album seems a great inverse sibling record to the latter project’s Retaliation.
Suffering Hour, Impelling Rebirth.
Suffering Hour has one of my favorite guitarists in the metal game right now. The guy is like an actual spider, seeming to crawl over the fret board, casting maniacal spells that I only wish I could figure out in my own playing. This effort being their comeback after their drummer’s battle with cancer is like all the more aggressive pieces of their previous records cranked to 11.
Hannah Frances, Nested in Tangles.
Dare I call this my album of the year? This is one of those records I found by accident, clicking on it in the sidebar of whatever service I was on. I don’t remember because the album was just too good, I saved it on everything, listened to it maybe a hundred times over. It’s wistful and melancholy, celebratory in key moments that seem to pass by with the horns and bird calls, and I can simply find no faults with it other than the album ending and having to press play again. It’s an atmosphere I could inhabit for long stretches of time.
I never got to see the Flatlanders play, but I saw the three main members—Joe Ely, Jimmie Dale Gilmore, and Butch Hancock—perform as solo artists. From Lubbock, Texas, the Flatlanders were a stunning band, with three unique songwriters, blending country, folk, and rock. While their initial run was short, from 1972 to 1973, they were legendary. Each member forged successful solo careers, often collaborating and covering each other’s songs. In 1998, they regrouped as the Flatlanders recording additional records and touring from time to time. I was still hoping to see the three of them perform as the Flatlanders, that is until Ely stopped touring due to complications from Parkinson’s disease and Lewy body dementia. His family continued to fill his world with music up to his death on December 15, 2025.
Ely was a masterful singer-songwriter. While he was rocker, much of his music is solidly Americana, fusing country and folk. He often incorporated brilliant guitar parts that upped the energy, propelling songs forward. When I saw Ely perform, he was a captivating storyteller, sharing details regarding the people, places, and historical moments that informed the songs. He embodied this tradition. At the time, I remember thinking about how few folks still authentically did this.
In the late 1970s, after seeing Ely play, the Clash befriended him. They would jam late at night, sharing music and stories, creating a rich bond. Ely opened for the Clash on some of their dates in the United States. In their song, “If Music Could Talk, on the Sandinista!, the Clash sing “there ain’t no better blend than Joe Ely and his Texas men.” Later, Ely sang backing vocals on “Should I Stay or Should I Go.” He had a deep appreciation for music, misfits, and renegades, and he easily moved between what appeared to others as different worlds.
I am a fan of Ely’s entire catalog, despite some of the unevenness in the 1980s. His first record, Joe Ely (1977), includes a brilliant version of Hancock’s “She Never Spoke Spanish to Me.” On his second record, Honky Tonk Masquerade (1978), his ballad “Because of the Wind” still moves me after all these years. I really love his 1990s records—Love and Danger (1992), Letter to Loredo (1995), and Twistin’ in the Wind (1998). Each of these records are distinct, yet they are all fully realized, capturing the richness of his voice and songs. Listen to “All Just to Get to You,” “Gallo Del Cielo,” “Run Preciosa,” and “Twistin’ in the Wind” to get a taste. Then settle into each record and absorb them in their entirety. To hear his brilliance as a country-folk singer listen to “Silver City” and “Wounded Knee” from his record Silver City (2007). To conclude, today, I am listening to the Flatlanders’s song, “South Wind of Summer,” to hear Ely singing with his comrades Gilmore and Hancock.
